#project complexity and estimating

[asestimationsconsultants]

Key Factors That Influence the Accuracy of a Cost Estimating Service

Accurate cost estimation is essential for the successful completion of any construction project, as it provides a clear financial framework that guides decision-making. However, achieving accuracy in cost estimation is no easy task. A variety of factors come into play that can influence the precision of a cost estimate. These factors can range from market conditions to the experience of the estimator and even the tools used in the estimation process. In this article, we will explore the key factors that influence the accuracy of a cost estimating service and how these elements contribute to reliable project financials.

1. Quality of Data Used

The foundation of an accurate cost estimate is the quality of the data on which it is based. For cost estimating services to produce reliable estimates, they must use up-to-date, accurate, and comprehensive data. This includes material costs, labor rates, equipment costs, and historical data from similar projects. Outdated or incomplete data can lead to inaccurate estimates, potentially causing cost overruns or missed profit opportunities.

Estimators often rely on databases that contain industry-standard pricing information. However, prices for materials and labor can fluctuate due to market conditions, supply chain disruptions, or inflation. By using the most current data, cost estimating services can ensure that their estimates reflect the true cost of the project, minimizing the risk of budget discrepancies.

2. Estimator Experience and Expertise

The experience and expertise of the cost estimator play a significant role in the accuracy of the estimate. An estimator with years of hands-on experience in the industry will have a deeper understanding of the complexities involved in a project. This knowledge allows them to better assess risks, anticipate potential challenges, and select the most cost-effective materials and labor sources.

An experienced estimator will also be able to apply their expertise to recognize patterns from previous projects, avoiding common pitfalls and ensuring that the estimate is comprehensive. In contrast, a less experienced estimator might overlook critical factors, leading to underestimates or overestimates that can affect the project's budget.

3. Scope of Work and Project Complexity

The complexity and scope of a project have a significant impact on the accuracy of a cost estimate. A large, multifaceted project with many moving parts will be more difficult to estimate accurately than a smaller, simpler project. Projects that involve multiple contractors, subcontractors, and suppliers will require detailed coordination, and failing to account for all variables can result in an inaccurate estimate.

Cost estimating services must ensure that every aspect of the project is considered when generating an estimate. For example, the cost of permits, inspections, and site preparation work must all be factored into the overall budget. Inaccurate scope definition can lead to significant discrepancies in the final cost estimate.

4. Use of Technology and Estimating Software

The use of technology and advanced estimating software can significantly improve the accuracy of cost estimates. Estimating software such as Procore, Buildertrend, or CostX allows for more precise measurements, better data management, and improved collaboration between project stakeholders. These tools often have built-in databases with current material prices and labor costs, which reduces the chances of errors caused by outdated or incomplete data.

Additionally, modern estimating software often includes features like real-time updates, integration with other project management tools, and digital takeoff capabilities. These features streamline the estimating process and help estimators generate more accurate estimates more quickly, improving overall project efficiency.

5. Location and Geographic Considerations

The location of a project is another critical factor that can influence the accuracy of a cost estimate. Construction costs can vary significantly based on geographic factors, including local labor rates, material availability, and transportation costs. For example, building a project in a remote area with limited access to resources may result in higher material and labor costs, as additional logistics may be required to transport goods and workers to the site.

A cost estimating service must consider regional price differences when creating an estimate. Failing to account for location-based cost variations can result in an underestimation of project costs, leading to potential budget issues down the road.

6. Market Conditions and Economic Factors

Economic factors and market conditions also play a key role in influencing the accuracy of cost estimates. Fluctuations in the prices of raw materials, labor, fuel, and equipment can all impact the overall cost of a project. For instance, a sudden rise in the cost of steel or concrete due to supply shortages or increased demand can make a significant difference in a project’s total cost.

Cost estimating services must stay informed about market conditions, including global supply chain issues, trade tariffs, and inflation. This awareness allows them to adjust their estimates accordingly and provide a more accurate prediction of future project costs.

7. Level of Detail in the Estimate

The level of detail included in a cost estimate is a key determinant of its accuracy. A high-level estimate, which only includes broad cost categories, may not provide the level of detail required to capture all potential costs. For example, an estimate that does not break down labor costs by trade or fails to include specific materials may result in significant inaccuracies.

On the other hand, a detailed estimate that accounts for every item required for the project will provide a more accurate picture of the total cost. This includes breaking down costs into smaller categories, such as material quantities, labor rates, equipment usage, and overhead costs. Detailed estimates allow project managers to track expenses more closely and identify areas where cost savings can be made.

8. Timeframe and Project Schedule

The timeframe for completing a project is another critical factor in estimating its costs. Construction projects that are scheduled to be completed in a shorter period may require additional labor or overtime, leading to higher costs. Conversely, projects with longer timelines may result in increased costs due to inflation, changes in labor rates, or the need for extended equipment rentals.

Estimating services must consider the project schedule when providing cost estimates. A well-defined schedule allows estimators to account for potential cost fluctuations based on the time required to complete the project. Inaccurate scheduling estimates can result in underestimating labor and equipment costs, impacting the project’s overall budget.

9. Risk Assessment and Contingency Planning

Risk assessment and contingency planning are essential components of accurate cost estimation. Every project involves a degree of risk, whether related to weather delays, unforeseen site conditions, or changes in regulations. A good cost estimating service will assess potential risks and build contingency allowances into the budget to cover these uncertainties.

By factoring in potential risks and creating a financial buffer, estimators can ensure that projects are prepared for unforeseen challenges without exceeding the budget. Failing to account for risk can lead to cost overruns if unexpected issues arise during the project’s execution.

Conclusion

The accuracy of a cost estimate is influenced by a variety of factors, ranging from the quality of data used to the experience of the estimator and the complexity of the project. By considering factors such as the scope of work, location, market conditions, and technology, cost estimating services can provide more reliable and realistic estimates. With a thorough understanding of these key factors, cost estimators can help ensure that construction projects stay within budget, minimizing the risk of cost overruns and contributing to the overall success and profitability of the project.

[mangled-by-disuse]

I have such mixed feelings about the love languages thing specifically, because, like, gary chapman fucking sucks and there's no scientific validity to his work BUT

at the same time, i do think there's some value in recognising and discussing the fact that different people need different expressions of love in different amounts? Especially in relationships.

Like, I have just recently been having a discussion with my partner about how he really doesn't tend to express his affection through gifts, whereas (as someone who is mega-bad at expressing sincere feeling) I do rely heavily on giving gifts and doing things for people as a less scary way to express love. Joe doesn't like giving gifts, because he's scared he'll do it wrong, and is only so-so on receiving them. He prefers to express love through physical contact and saying nice things. I hate having nice things said to me unless I am allowed to immediately rebut them with a joke or sarcastic comment that makes them less scarily close to emotional honesty. too many words of affirmation and i will genuinely just start avoiding you because it is painfully awkward to me.

and none of that means we are fundamentally different categories of people, which is where the 5 Love Languages stuff falls into being absolute bollocks. but I have seen, and done, enough throwing the baby out with the bathwater on that to be a little defensive - I think reasonable applications of the concept are actually really quite valuable. and for me, the taxonomy Chapman suggests (words of affirmation, quality time, gifts, acts of service, physical touch) while not at all exhaustive or thorough, is a useful framework to hang those conversations on. bc, like, no, the way people communicate and receive affection is not universal, and from personal experience, assuming that it is can have really significant problems for a relationship.

...you could argue that this is parallel to BMI in terms of "tools being used in totally not the way they should be used" though, tbf.

I can't keep having the same conversations about love languages, mbti, iq, bmi, "brain fully formed at 25" and shit over and over again...

[kenomacreature]

A META-HISTORY OF ELYSIUM CORONA MUNDI

Chronicling (almost) everything we know about the development of Robert Kurvitz's quasi-sacral object complex

This post represents an attempt to gather (almost) all the reliable public info we have about the broader worldbuilding of Elysium Corona Mundi (the series to which Disco Elysium and Sacred and Terrible Air belong) and how it developed over time into one place, presented more or less chronologically and in a way accessible to fans unacquainted with the, shall we say, more arcane lore of Elysium. In the original incarnation of this post, basically every sentence was scrupulously referenced; however, referencing is a major pain in the ass on tumblr, so instead I just have a broad list of sources at the bottom and if you want to inquire any further into a specific claim you can just message me.

I'll also warn readers that the sections discussing the Torson & McLaine campaign and the (currently cancelled) sequel to Disco Elysium contain potential (albeit relatively minor) spoilers for the planned plot of that game. The creators still hope to make that game one day, so if you want to go in totally blind, you know what to avoid.

Evermier

The first serious worldbuilding project that Robert Kurvitz embarked on dates back to at least the year 1997. It was developed with his childhood friends in Estonia, including later Elysium worldbuilders Martin Luiga, Argo Tuulik and Kaspar Kalvet, and went by the name Evermier. This was a medieval fantasy setting formed around a tabletop roleplaying system that Robert Kurvitz and Martin Luiga have referred to as “bootleg Finnish Dungeons and Dragons,” but which Argo Tuulik suspects was actually a Powered by the Apocalypse framework. The vast majority of the boys’ time with Evermier was not spent actually playing any campaigns, but rather formulating the setting and mechanics (both Argo and Luiga ended up never participating in a roleplaying session of Evermier). Argo splits the time spent conceiving Evermier into two broad periods – one he dubs “Evermier 1.0,” which stuck close to traditional Dungeons and Dragons – and one dubbed “Evermier 2.0,” where no tabletop campaigns were ever actually played and all the time was spent system-building. Argo estimates this latter period lasted some 2-3 years.

Scope creep quickly hit the project, with character sheets evolving into whole character books. Luiga alleges that that “the wizard book” was supposed to have 350 spells altogether, each with at least a half-page story about the spell, in prose, and that “about a healthy third of the book got done in the end.” Argo gives a different number, stating that early estimates for it had more like 900 spells, but agrees that two-thirds of each page would’ve been reserved for “juicy literary stuff” about the spell in question while the rest of the page was dedicated to stats, and says that Luiga and Kaspar wrote a lot of excellent stuff for these spells.

Argo says there were about twenty different schools of technology (such as “metallurgy” and “optics”), at least twelve classes of mages, and “so many” subclasses of elves. There was also a subclass of dwarf that, instead of being stocky, chubby and bearded like traditional dwarves, were veiny and more like “Russian miners.” When implementing necromancers, Robert “zoned in on this soul aspect,” which later became the basis for Elysium’s pale. Argo describes these necromancers as “hobbits, but with these little lanterns that guide spirits or souls from this massive fog.” Luiga places the invention of this “fog of death with whom some could communicate” as happening late in Evermier’s development and likewise considers it a primitive precursor to what would become the pale.

The worldbuilders spent a lot of time gearing up for an ultimate roleplaying session that never ended up materializing, but their artist friend Jüri Saks drew illustrations in anticipation of it, including character portraits. Luiga’s character was a “sickle-elf” whose class was called “saint.” This saint character was a handsome elf with small pointy ears and a neat little beard, who wielded two “light swords” (possibly katanas), and a crossbow called Crucifix on his back. The character was from a “grim northern land” and was a “religious lunatic type” who believed in a “grim, monotheistic God.” Argo alleges that Luiga related to this character so much that it almost became a part of his persona; he “developed this mode that sometimes when we were drinking he happened to slip in, where he would start judging people. I would like to say that it still remained within the boundaries of normalcy, but uh, unfortunately it didn’t.”

Kaspar Kalvet at some point played an archer character named Minor Mortifer (“Small Death-bringer”), and there was also a dwarf king named Fuirum Thundergate.

According to Luiga, the name “Elysium” was suggested by someone on the dragon.ee forums, but it took half a year for Robert to start seriously considering it. This was back when the setting was still a medieval fantasy world. Luiga and Argo both agree that the historicized Elysium as we know it now was born around the time when Robert decided to get rid of fantasy races, because – as Argo puts it – “they were kind of stupid.” With this decision, Evermier underwent a modernization process of sorts, an attempt to bring the setting closer to real life, where many other fantasy elements were stripped away in favor of more realistic representations of cultures, mostly in the form of nations. Argo says that many of the fantasy races transformed over the course of this process into the nations of Elysium – the dwarves became the nations of Graad, the elves became the great desert isola of Iilmaraa (formerly Armaghast, a nod to Dan Simmons’ Hyperion, still referenced to this day with Iilmaraa’s Erg desert), the night-elves or star-elves eventually became Seol, and the snow-elves became Katla (which apparently has not changed too much since the Evermier days, and whose namesake is the dragon in Astrid Lindgren’s novel The Brothers Lionheart). Among the first innovations of the new modernized setting was the concept of floating magnet trains, later described in Sacred and Terrible Air.

After the Evermier setting had been discarded, many of its ideas ended up being repurposed into historical periods within the new historicized Elysium setting.

The Elysium tabletop campaigns

Between the years 2003 – 2007, three tabletop campaigns were played in the then newly formed Elysium setting. These all took place in Revachol during the Current Century and featured Robert as dungeon master. The first campaign seems to have been called Soul Milton’s World Autumn, the second one Riget and the final one known simply as Torson & McLaine, or alternatively the RCM campaign. The first two were played at Robert’s old apartment in the concrete block project at Mustamäe, while the third one was played in the house of Luiga's dad, which the three later lived together in following his death.

Soul Milton’s World Autumn

Of the three campaigns, Soul Milton’s is arguably the one most shrouded in mystery as it stands. It took place in Revachol and Martin Luiga played the titular character Soul Milton. The character has been described as “one of the cornerstones of the Elysium mythos” and an “aspiring world-historical person.” By the time of the campaign, Milton seems to have become an amnesiac as a result of “suppressing his own mind to protect himself from his enemies,” and in this process apparently also adopted a disguise by “putting another skin on himself” (what precisely that means, we don't know). He was “very rich” and came from a well-off family, had a complicated and possibly romantic relationship with his sister and was a “politician slash businessman” who “wanted to be the innocence of consumerism.” As it turns out, the enemies who were chasing him were the Therriers of Elysium’s final innocence, Ambrosius Saint-Miro (a major figure in both Sacred and Terrible Air and Full-Core State Nihilist, to be discussed later), who Soul Milton met at one point. Saint-Miro apparently told him that “there has never been an innocence who is also not an innocence.” This encounter places the Soul Milton campaign firmly after the events of Disco Elysium, possibly in the late Fifties or Sixties. During this campaign, Argo played Soul Milton’s horse carriage driver, a man by the name of Elroy Quint Duval.

Also associated with Soul Milton are two other characters. Before Sacred and Terrible Air was conceived, Robert had planned to tell the story of Elysium in three books; one starring Soul Milton, another starring a character named Dister, and the third a character named Dallasz.

Dister, or Marius Dijsters, was an extraphysicist and published author hailing from Oranje. He was a son of diplomats, one of them the grand ambassador of Oranje on Iilmaraa. He seems to have been a significant enough figure to have an entire strand of thought – Disterism – named after him (mentioned in the inside covers of Sacred and Terrible Air), and like Soul Milton, he had an antagonistic relationship with Ambrosius (as made apparent by an incident where he was threatened by the innocence’s Therriers at age 25). He is also apparently involved in some way with Theo Van Kok (of Sacred and Terrible Air fame), along with a Paul Messier (presumably the husband of Disco Elysium's Joyce Messier), apparently the beneficiary of such prestigious titles as "Enemy of the Press '67" and "Worst Person of the Year '67."

Information is rather scant on Dallasz, but during the making of Disco Elysium, there were plans to repurpose him into another project, a comic book named Mercurio Dallasz and the Twelve Kojkos which was going to be illustrated by Aleksander Rostov. This project unfortunately fell through, but we know the premise: a band of kojkos under Dallasz’s leadership attempt to assassinate innocence Saint-Miro. This was presumably an Inglourious Basterds type affair. 

Riget

“It’s better to die in the Kingdom than live in a shithole.”

This was the tagline of Elysium’s second tabletop campaign, Riget, whose name is Danish for “kingdom” and was taken from Lars von Trier’s mini-series of the same name. Once more, the setting was Revachol, but this time it was limited to a peculiar part of it: Le Royaume (French for, again, “the Kingdom”) a vast network of dungeons and burial chambers two kilometers beneath the city, housing ancient ruins and remnants (quite possibly of the Seraseolitic civilization mentioned in Disco Elysium), along with treasures such as bioluminescent plants which have adapted to living in total darkness. The stars of this campaign were three impoverished children, all between the ages of 10-12 and members of a gang named “Earthworms,” who decided to venture down into the catacombs in search of valuable artifacts to sell. At some point, these kids somehow found themselves unable to get out of Le Royaume, supposedly trapped underground by demons who sought to use the children as vessels to escape back to the surface. When this campaign was being played, demons were still a part of the setting and haunted the halls of the underground network, along with monsters – such as the armakhaan beast, also known as Lelo Lelo, a terrifying blind and flightless hunter killer bird which was a mix between the xenomorph and cassowary. As for whether demons are still part of the setting in any way; both Argo and Luiga's statements are too ambiguous to reach any firm conclusion. Argo does note that the concept of 'demons' connotes something subtly different in Estonian than the scary red guys in popular Western culture, and are more like a primordial evil.

In the campaign, Argo played a boy named Miron, whose nickname was ‘Sneaker’, while Luiga played Joschka, a crippled boy with a bad leg. During the campaign, individual roleplaying sessions with Robert were held where the players’ stories evolved in parallel without them being kept on the same page. Each of them would get info the others were not privy to: Argo’s was that Joschka is unaware of the fact that he’s not considered a true member of the gang; in reality, he’s an outcast generally considered a weird, creepy weakling, and was only brought on for his lockpicking and mechanical skills.

Eventually, the Riget campaign got quite far into “Lord of the Flies territory.” Near the end, Sneaker and the third boy (played by another friend) conspired to kill Joschka deep underground.

Torson & McLaine

The worldbuilders continued to refine the roleplaying mechanics they were working with for the campaigns. By the time of Riget, the basics of the Metric system had been introduced, with the now familiar INT, PSY, FYS, and MOT. But according to Argo it was the RCM campaign, known principally as the Torson and McLaine campaign, which was “the first mature cycle of Elysium storytelling.” It took place, once more, in Revachol – this time in a ghetto called Jamrock, named after a Damian Marley song, and was focused on the goings on in Station 51 (renamed Precinct 41 by the time of Disco Elysium), the RCM’s lone precinct in Jamrock. The campaign took large amounts of inspiration from the TV series The Shield and its depiction of corrupt police officers and the intermingling of gang warfare and state-sanctioned violence. A central concept was: the cops are a gang, and the gangs are cops.

The RCM campaign began on a sort of prologue session, wherein Argo and Luiga played characters named Antwone Novak and Trinidad Tranquile respectively, two junior officers newly recruited into the RCM. Antwone was a “petit bourgeois type,” whereas Trinidad was a young communist who had recently been given time off work due to excessive violence. Luiga describes him:

He worked at a meat shop that belonged to Carson Torsson, Mack Torson’s dad, and had a system of stealing from work in order to ‘adequately compensate for his labour’. He also liked to practice a crude type of critical theory in the vein of ‘this building has been made that large to humiliate me, to show off with a power greater than me, to scare me into submission’. And he had a system of smoking no more than five cigarettes per day to cut down on smoking costs — Kim’s single cigarette habit might be a distant echo of that. He had, I think, a 7 in PSY (at least 5) and 2 in INT and mediocre physical stats, the core system was pretty much set by then.

At the end of this prologue session, Station 51 became the target of a terrorist attack. We don’t know much about the perpetrators beyond them being “Church of Evil type guys” in Luiga’s words, but the dice was rolled badly and Antwone and Trini both ended up dying in a “horsebombing” attack, falling onto the bridge outside the station.

Map of Station 51, located in a repurposed steel mill.

Going forward, Argo and Luiga had to find new characters to play, and they ended up going with ones they had earlier conceptualized, half-jokingly, on one of their many walks around Tallinn from parties and other events, since public transportation was notoriously unreliable. These characters were Chester McLaine, played by Luiga, and Mack “the Torso” Torson, played by Argo. Torson was derived in half from Vic Mackey, the protagonist of the Shield, and half from Argo’s own personality. Argo says that Luiga put his own personality into Chester as well, but isn’t sure where the other half of that character came from.

The main plot of the campaign centered on a revenge operation against those who perpetrated the attack on Station 51. In the second session of the campaign, Torson and McLaine are involved in a church raid; though Argo takes care to mention that he doesn’t think this is the church raid mentioned in Disco Elysium, and that it’s not a Dolorian Church but rather the “Armed Church of Saint-Michelle.” Among the tasks of Torson and McLaine were gathering “guns and drugs” for the “big revenge operation.”

Mack Torson was an idiotic body builder, an admirer of Lieutenant John “the Archetype” McCoy, the Station’s resident mass murderer, and altogether “way too stupid to concentrate on the main plot and politics of the police station,” focusing his attention instead on matters like “how to get it on with the captain’s secretary and tattooing the word ‘Jamrock’ on his body hundreds of times over.” Chester McLaine was a little more perceptive, wondering about things such as “what the hell is going on with the armour maker or Nix Gottlieb,” but was still an all-around uncritical person who put a lot of stock into “loving the captain” and “being a communist memebot.” McLaine was also “a sword guy,” since at this point in the worldbuilding swords were still viable weapons, with guns being slow to reload. Torson and McLaine lived together, along with two other cops, Sundance Fischer and Elfboy Williams. “Elfboy’s thing was being the dexterity bro, in which he continually lost to McLaine, and Sundance’s thing was having a fat ass and cleaning his guns all the time.” Torson had a wife named Tessa Torson, and later in life both Chester and Mack would apparently raise adopted daughters, Tessa and Triss (whether these Tessas are separate characters or represent the same character at different stages of development is unclear; Argo and Luiga seem to contradict each other, unless there's something very weird going on).

Torson and McLaine both regularly abused their powers, as RCM officers in general are prone to do, and in their heads they were justified in doing so. A highlight of the RCM campaign had been sessions dubbed “the Ballad of Chad Tilbrooks and Émile Mollins,” centering on two junior officers which were ritually abused and exploited by the older members of their station, including Torson and McLaine. At one point, Torson and McLaine were also involved in an interrogation of a local religious figurehead which devolved into mutilation torture, which only the “bullet-lobotomized” officer Damien “44” Latrec called out for what it was (enthusiastically). The interrogation ended up being ineffective as the religious leader simply “retreated into a happy place inside his head.”

The Captain of Station 51, Ptolemaios Pryce, was immensely respected and glorified by its officers, whereas the station’s lazareth Nix Gottlieb, while also respected, was generally resented and found hard to tolerate for being “an absolute horrible cunt.” In spite of this, Nix Gottlieb was known to have a curious friendship with Pryce, talking alone with him in the Captain’s office long into the night. This fact regularly perplexed the officers of Station 51.

Eventually, at some point in the campaign, Torson and McLaine would come to the focal point of the story, when they make a shocking discovery: the reason for Pryce and Gottlieb’s strange friendship is that they are both members of the top-secret underground anarchist organization the Ultra, and not only are plans underway for a national liberation movement freeing Revachol from Coalition control, known as THE RETURN, but the two have set their sights on a much larger goal: world revolution. 

The novel cycle

No more campaigns were played in the Elysium world after 2007, when the boys stopped playing the RCM campaign (with the story unfinished). Robert Kurvitz instead shifted his attention to writing a book in the Elysium universe. Eventually the plan became for it to be the opening to a cycle of novels, totaling eight altogether. We have the English titles of each book and their epigraphs, along with the order of the series, from a post by Kurvitz on the dragon.ee forums.

They are as follows:

#0 A SACRED AND TERRIBLE AIR My heart will not rest until it rests in you. - St. Augustine

#1 THE COUNTERMEASURES What am I searching for in your dreams? I am not searching. I am merely cleaning up. - Christian Emmerich

#2 NO TRUCE WITH THE FURIES Man-kind, be vigilant! We loved you. - Julius Fučik

#3 MADRUGADA It must be lit as dreams, by lightning flashes only. - Witold Gombrowicz

#4 TWO HUNDRED AND TWENTY NINE DAYS REMAINING Evening brings the child back to the arms of the mother. - Sappho

#5 COALITION WARSHIP I don’t want to be in no indie shit. I want to be in the big ones. I want to be in the ones that matter. - Mickey Rourke

#6 WE ARE THE WAITING What remains, is longing for something completely different. - Luis Althusser

#7 INDIFFERENCE A great silence, some low pressure front is forming. - Arvi Siig

Sacred and Terrible Air was eventually released in Estonian back in 2013, and after the success of Disco Elysium plans were made to translate the book into English. Rumor goes that this translation was very far along or even finished, but unfortunately all plans for releasing this translation to the public have been halted with the ongoing legal dispute.

Fortunately, dedicated fans have taken it upon themselves to translate the book into English for those particularly interested. The most successful translation by far is the one by Group Ibex, which still receives updates to this day.

Read it here.

Full-Core State Nihilist

Many don’t know that Sacred and Terrible Air is actually not the only written work predating Disco Elysium. Before even Sacred and Terrible Air was released, Martin Luiga wrote a short story later given the English title Full-Core State Nihilist, which was uploaded to the old ZA/UM blog. While obviously not as meaty a text as Sacred and Terrible Air, it deals with some overlapping themes and gives us our first proper window into the nation of Mesque, so important to the broader narrative of Elysium.  

Full-Core State Nihilist was later heavily edited and uploaded to nihilist.fm, another blog site which many of the ZA/UM members were active on.

Finally, in 2022, Martin Luiga translated the Estonian story, basing his English version on the original ZA/UM blog version, and uploaded it to Medium. This translation itself could be seen as a third edit of the story, featuring new references to Disco Elysium.

(As it happens, I have also arrogantly taken it upon myself to create my own translation of this brilliant story, which combines elements from all three versions, and is an attempt to render the prose in slightly less idiosyncratic English, closer to the “house style” of Disco Elysium, while remaining heavily informed by Luiga’s own translation.)

You can find Luiga’s translation here and my version here.

THE RETURN

In 2014, Robert Kurvitz pitched an idea to his friend and associate, novelist and businessman Kaur Kender, to turn the Torson & McLaine roleplaying campaign into a full-fledged video game for PC. The pitch proposed a 3000 EUR investment to produce a vision document, with design and artwork handled by Aleksander Rostov and Juri Saks, detailing the setting, plot, game mechanics and art style. In 2015, this document was finished, and by this time a provisional name for the project seems to have been settled on: THE RETURN.  

This vision document reveals that the game was once planned to feature turn-based tactical combat. The plan was also for the player to create their own character from certain “archetypes,” each with different personalities, talents and appearances. Over time it became clear that these plans were too ambitious; by 2016 the archetypes had been narrowed down into a single character – the “disgrace to the uniform” Harry du Bois – and the prologue chapter of his story, set in Martinaise, was split off into its own game. This smaller project received the title that originally was given to the third novel in the planned cycle (which was almost certainly anticipated to center around the story of Precinct 41 in the year ’51) – NO TRUCE WITH THE FURIES.

No Truce became Disco Elysium and the rest, as they say, is history. But unlike many fans who view Disco as a singular statement that needs no further comment, the developers were far from done with the world they had created. The dominant internal view, especially among the original worldbuilders, was that Disco Elysium was merely a minor project to get ZA/UM’s foot through the proverbial gate. Work on the true game – the one they had wanted to create all along – could finally begin now.

As far as we know, the plot of the game would’ve stuck fairly closely to the events of the Torson & McLaine roleplaying campaign. The game was to open with an attack on Precinct 41, and the rest of the game would’ve been a revenge story of sorts. Players would assume control of Harry again, and this time his primary partner would be Jean Vicquemare, although there would be an assortment of other potential party members. The map would be at least four times bigger and set in Jamrock.

Plot points which would be explored in the sequel had already been set up in Disco Elysium – among these are Pryce and Gottlieb’s revolution, Le Royaume, Edgar Claire, and La Puta Madre. Cuno and Cunoesse would’ve featured as returning characters; not much is known about how Cuno and Kim would’ve been integrated into the game given how variable their endings in Disco Elysium are, but Argo says that he would’ve insisted on Cuno returning. X7 – the now-cancelled DLC project which Argo worked on for the remainder of his time at ZA/UM after Robert, Rostov and Helen were ousted from the company, would’ve featured Cuno as the protagonist. Meanwhile, Cunoesse was planned to reappear in THE RETURN as a leader of a gang of kids in Le Royaume, according to Martin Luiga.

Obviously, the characters of Precinct 41 would've featured heavily, and we'd be introduced to many familiar names which we were already given glimpses of in Esprit de Corps checks in Disco Elysium. One of these would be Lt. Berdyayeva, a superior of Harry’s, whose daughter is Jean Vicquemare’s ex. A character we know nearly nothing about except for the fact that he was conceptualized back in the tabletop days as a sort of joke character, but survived all the way into the planning stage for THE RETURN, is “Marivald the Merry Butcher” – what his role might've been, your guess is as good as mine.

Pryce and Gottlieb’s goals in the game might've involved an attempt to unite several diverse groups with a common interest in an independent Revachol; this would’ve included the besmerties, the West Revacholian crime syndicates mentioned in Disco Elysium. Prominent among them would’ve been La Puta Madre, a Mesque gang leader and drug manufacturer, a man of such immense power that he has RCM officers tending his poppy fields in terror (his influence also seems to survive past the events of the game; he gets a mention in Sacred and Terrible Air). The Madre would’ve apparently been an attractive feminine-presenting man, impeccably dressed and wearing beautiful makeup; his gender-nonconformity a way of projecting power over the traditionally macho culture of Villalobos. The rival gang, Ahura Mazda, led by a gangster known as the Mazda, would’ve presumably also featured prominently – Rostov recently released old concept art depicting one of their gang members.

There were more plans for the sequel that only came along after the development of Disco Elysium itself. Robert has talked about wanting to double down on events like the Mercenary Tribunal, handling big action scenes within the more closed literary format of the FELD dialogue system, hopefully allowing for even more variation than was possible in Disco's big confrontation. Another infamous idea was the inclusion of a second protagonist – a pregnant woman, about 5 months along. Kurvitz has mentioned this idea in interviews, saying that it would be "an incredible writing challenge" within Disco Elysium's internalized skill system: "It would be unbelievable to use our skill system to speak about the bodily sensations of having another organism inside of you, while you're in the setting and talking to another person." That said, the addition of an entire new protagonist is very ambitious indeed – it's not clear whether the idea would involve alternating perspectives of some sort, or a choice in the character creator of which one to go with, but Kurvitz made it clear that these would be entirely different characters, unlike many games which offer only a superficial choice between male and female playable characters. Kurvitz expressed some doubt about being able to include this in the game, but at least expected it to be integrated via an expansion post-release if not.

Miscellaneous info

Argo and Robert have both hinted that there is a metatextual element to the overarching Elysium narrative. Whenever presented with readings or theories that contextualize the game as some sort of story-within-a-story, they act coy and refuse to give any clear answers. Argo outright offered an interpretation of the pale which presents it as what happens as the narrative starts “leaking out” of the head of a reader or audience member no longer actively absorbed in the world and said that “Elysium is a fictional world that is aware that it’s fictional.”

Apparently related to this aspect of the narrative, according to Argo, are the three satellites in orbit above the world of Elysium – Iikon, Zenith and Shakermaker – which have been there since “before the 8,000 years of recorded history” and before “the Polycarpeum event.” The satellites have only been mentioned in niche corners of the currently published materials, and the innocence Polycarp has only been mentioned in secondary materials, such as the artbook and the inside covers of Sacred and Terrible Air, leading to speculation about him being involved with the pale and the memory of his reign being wiped from history.

Also related to the metatext, again according to Argo, is a character known as “the Man Behind the Black Sun” – he gets one mention by the Paledriver in Disco Elysium, but curiously she seems to refer to it as the title of a movie that was released in Mesque during the revolutionary era, potentially a boiadeiro picture starring the actor Gabriel Buenguerro.

The magical elements of the pre-Elysium fantasy world morphed over time into what is called “extraphysics” in Elysium. The innocences, the pale, and “plasm” all testify to this supernatural aspect of the setting.

At some point, Ambrosius Saint-Miro apparently constructs nihilist death camps, which Triss and Tessa (the adopted daughters of Torson and McLaine) end up in and eventually escape.

"Magpies" are not a real thing and were never a part of the original plan for the Elysium narrative. The concept artist who made the image from which the term was popularized has gone on record saying that he invented this idea himself and that it was taken from his own worldbuilding ideas. There is nothing to suggest that this was integrated into the game; Argo and Luiga reacted with confusion at the mention of this concept.

Kurvitz had an insanely ambitious list of projects he wanted to make in the Elysium universe before he was ousted from ZA/UM; "The last one I want to make, when I'm 50 or 60, that I want to absolutely go crazy on and throw out all commercial considerations and get this as conceptual as possible, is the tabletop setting. The working title for the tabletop setting is You Are Vapor. It will be a really, really, crazy pen-and-paper game."

List of sources:

All parts of Argo Tuulik's Human Can Opener Podcast episode.

Martin Luiga's Human Can Opener episode.

Martin Luiga's Medium account and other blog posts: Interview, 8 years ago..., Hello Fellow Worldbuilders, Correction, A Policeman In Revachol, Fuirum Thundergate (Substack)

Tweets by Martin Luiga: 1, 2, 3, 4

Tweets by Argo Tuulik: 1

The dragon.ee post about the novel cycle

"Welcome to Revachol" on the devblog

"Outro" by Robert Kurvitz, featured in the official Disco Elysium artbook.

Disco Elysium, Sacred and Terrible Air, and Full-Core State Nihilist. Obviously.

Possibly more that I'm forgetting. Feel free to ask.

[apas-95]

Really, watching The Wandering Earth makes Interstellar seem pretty ridiculous in comparison.

In no particular order:

In Interstellar, we are only ever shown the US perspective, and the only time another nation is even mentioned is when the protagonists down a long-abandoned, autonomous Indian Air Force¹ drone - even at the end, when humanity leaves Earth, the space habitats are purely USAmerican, complete with small-town baseball field. In The Wandering Earth, however, a multitude of nations are represented - China is most prominent, but Indian, Kazakh, Russian, Indonesian, Korean, etc. crews are also shown, and are instrumental to the climax of the movie, where only the cooperation of all nations pushing together solves the issue.

While both movies feature the plotpoint of a cynical backup plan to re-seed humanity from frozen embryonic cells, in Interstellar, the best-case plan is evacuating a necessarily small number of people off of Earth, abandoning the planet to its fate. Solving the problem on Earth is impossible. Here, the solution is Noah's Ark. In The Wandering Earth, the best-case plan is to save the Earth, preserving as much of humanity as possible. Most resources are spent on constructing safe cities for humanity that can weather the storm, and on the infrastructure necessary for the Moving Mountains² project. Here, the solution is Great Yu Controls the Waters.

In Interstellar, the result of the crisis in society is a massive reduction in organisation. Governments basically cease to exist, armies are dissolved, and humanity turns to rural, agricultural production. Despite this, they are able to construct and launch complex interplanetary space missions, with secrecy even. In The Wandering Earth, the result of the crisis in society is a massive increase in organisation. A world government is formed to unite as many forces as possible, and a massive project of industrialisation occurs, in order to carry out the work needed to save the Earth. The construction of the Earth Engines is shown to have taken decades, with long periods of difficult experimentation.

In Interstellar, the focus is on the immediate family, on the protagonist's children. It is a tragedy that the protagonist spends thirty years in space, but the mission to leave Earth happens quickly enough that he can still see his daughter again, on the spaceship full of cornfields and single-family houses. In The Wandering Earth, the focus is on all generations to follow. The project being undertaken will not bear fruit for centuries, and in those centuries the people working for it will face extreme difficulties and struggle. But, many, many years from now, it will provide a good life for the children of a future Earth.

¹Originally, this was to be a Russian drone, operated by the Chinese military. The movie's plot originally included a conflict against secretive Chinese space forces who attack the protagonists.

²The Foolish Old Man Moves the Mountains is a Chinese fable, about an elderly man who begins carving out a path in the mountainside - when asked why, even though he'd never quarry through the mountain in his lifetime, he answers that others will follow his work, and one day the pass will be complete. It was referenced by Mao Zedong as a metaphor for the long construction of socialism in China, estimated at the time to take a hundred years or more to achieve a developed and prosperous society.

[whencyclopedia]

Eyewitness Accounts of the Holocaust

The Holocaust was the murder of 6 million Jewish people by the SS, Gestapo, and other organisations of Nazi Germany and its allies in the years prior to and through the Second World War (1939-45). Innocent men, women, and children were shot in mass executions, or, if not too young or too old, they were sent to labour camps where they worked until they could do so no longer. The ultimate fate of millions was to die in the gas chambers of extermination camps like Auschwitz in occupied Poland.

In this article, accounts are presented by those who witnessed the Holocaust genocide firsthand, both its victims and those involved in its execution who were obliged to give evidence in, for example, the post-war Nuremberg trials of 1945-6.

Unburied Corpses, Bergen-Belsen Concentration Camp

Wislon-Oakes - Imperial War Museums (CC BY-NC-SA)

The Nazis & the Jews

Adolf Hitler (1889-1945) established himself as the dictator of Nazi Germany in 1933, and he identified Jewish people as the main enemy of the state. Based on dubious and inconsistent racial theory as propounded by such Nazi figures as Alfred Rosenberg (1893-1946), Hitler and the Nazi Party began a propaganda campaign against German Jews, which presented them as an inferior race who were holding Germany back from achieving its full economic potential.

Hitler wanted to remove all Jews from German territory, but the first step was to identify who exactly was a Jew. The 1935 Nuremberg Laws loosely identified Jews since even having a single Jewish grandparent placed an individual in that category. A series of 'solutions' to what Hitler called the "Jewish problem" were rolled out, such as encouraging emigration and persecuting Jewish business owners. Jews were then attacked in such pogroms as the Kristallnacht of November 1938. Next, Jews were rounded up and obliged to live in segregated areas such as ghettos in cities or in concentration camps. Jews were deprived of citizenship and other basic rights.

From 1942, the Nazis began what was secretly described as the 'Final Solution', that is the plan to murder all European Jews. Jews were transported to labour camps where they worked on state projects until they died from disease, extreme malnutrition, or physical exhaustion. Other Jews, and those who could no longer work or were too young or too old to work, were transported directly to death camps like the Auschwitz-Birkenau complex in occupied Poland where they were killed in gas chambers and their remains were communally cremated. Jews were not the only victims since the Nazis also targeted Romani people, Communists, Jehovah's Witnesses, Freemasons, homosexuals, political rivals, prisoners of war, and those with physical or mental disabilities, amongst others. In addition, hundreds of thousands more victims were murdered in mass executions in occupied territories during the Second World War by mobile killing squads known as Einsatzgruppen. The Jews made up by far the majority of those killed, and it is estimated that 6 million died in what is today called the Holocaust. The sheer scale of the Nazis' programme means that determining the precise number of victims is not possible.

Arrested Jews, Baden-Baden

Bundesarchiv, Bild 183-86686-0008 (CC BY-SA)

Hugh Greene, a British newspaper journalist, recalls what he saw of the Kristallnacht in 1938:

I was in Berlin at that time and saw some pretty revolting sights – the destruction of Jewish shops, Jews being arrested and led away, the police standing by while the gangs destroyed the shops and even groups of well-dressed women cheering.

(Holmes, 42)

Avraham Aviel, a Polish Jew and survivor of a mass execution, gives the following account of his experience in May 1942:

We were all brought close to the cemetery at a distance of eighty to a hundred metres from a long, deep pit. Once again everybody was made to kneel. There was no possibility of lifting one's head. I sat more or less in the centre of the town people. I looked in front of me and saw the long pit then maybe groups of twenty, thirty people led to the edge of the pit, undressed probably so that they should not take their valuables with them. They were brought to the edge of the pit where they were shot and fell into the pit, one on top of another.

(Holmes, 319)

An anonymous survivor from a ghetto massacre in Lviv, Ukraine, in August 1942 gives the following description of its aftermath:

I went with my mother to the office of the Jewish community regarding an apartment and there in the light breeze, dangled the corpses of the hanged, their faces blue, their heads tilted backward, their tongues blackened and stretched out. Luxury cars raced in from the center of the city, German civilians with their wives and children came to see the sensational spectacle, and, as was their custom, the visitors enthusiastically photographed the scene. Afterwards the Ukrainians and Poles arrived by with greater modesty.

(Fiedländer, 436)

Nazi Classification of Jewish People

VolksVeritas (CC BY-SA)

Rivka Yoselevska, a Polish Jew, describes her experience and that of her family in the Hansovic ghetto massacre in August 1943:

Some of the younger ones I got out naked covered with blood…I was still alive. Where should I go? What should I do?

(Holmes, 320-1)

The SS lieutenant-colonel Adolf Eichmann (1906-1962), in charge of the Final Solution's transportation requirements, here lies to Jews to make sure they do not create trouble as they are transported by train from a ghetto to the concentration camps:

Jews: You have nothing to worry about. We want only the best for you. You'll leave here shortly and be sent to very fine places indeed. You will work there, your wives will stay at home, and your children will go to school. You will have wonderful lives.

(Bascomb, 6)

The death camps were deliberately located in remote Poland to provide the Final Solution project more secrecy. Rudolf Höss (1901-1947), a camp commandant at Auschwitz, stated:

We were required to carry out these exterminations in secrecy, but of course the foul and nauseating stench from the continuous burning of bodies permeated the entire area and all of the people living in the surrounding communities knew that exterminations were going on at Auschwitz.

(Neville, 49)

New Arrivals at Auschwitz

Bernard Walter (Public Domain)

The typical conditions of the train journeys to the camps are described here by Avraham Kochav, an Auschwitz survivor:

There were twenty to twenty-five cars in every train…I heard terrible cries. I saw how people attack other people so as to have a place to stand, how people push each other so that they could stand somewhere or so that they could have air for breathing. It was terribly, terribly stifling. The first to faint were the children, women, old men, they all fell down like flies.

(Holmes, 332)

Zygmunt Klukowski, a Polish hospital director, describes the train journeys for Jewish people sent to the Belzec extermination camp in occupied Poland:

On the way to Belzec the Jews experience many terrible things. They are aware of what will happen to them. Some try to fight back. At the railroad station in Szczebrzeszyn a young woman gave away a gold ring in exchange for a glass of water for her dying child. In Lublin people witnessed small children being thrown through windows of speeding trains. Many people are shot before reaching Belzec.

(Friedländer, 358)

Yaacov Silberstein, a Jewish teenager, describes his arrival at Auschwitz in October 1942:

When we arrived we saw how the Jews were running to the electrified fence. There they stuck. They were tired of life; they could not continue in this fashion.

(Holmes, 330)

Dr Lucie Adelsberger, a prisoner of Auschwitz, describes the processing of new arrivals destined for the labour camps:

We undressed, had our hair cut – no actually our heads were shaved to stubble; then came the showers and finally the tattoos. This was where they confiscated the very last vestiges of our belongings; nothing remained…no written document that could have identified us, no picture, no written message from a loved one. Our past was cut off, erased…

(Cesarini, 656)

Aerial View of Auschwitz

South African Air Force (Public Domain)

Bernd Naumann, a survivor from the Birkenau camp, describes the prevalence of rats in the camp:

They gnawed not only at corpses but also at the seriously sick. I have pictures showing women near death being bitten by rats.

(Neville, 50)

Seweryna Smaglewska, a prisoner in the Birkenau women's camp, describes the living conditions there:

There were no roads, no paths between the blocks. In the depths of these dark dens, in bunks like multi-storied cages, the feeble light of a candle burning here or there flickered over naked, emaciated figures curled up, blue from the cold, bent over a pile of filthy rags, holding their shaved heads in their hands, picking out an insect with their scraggly fingers and smashing it on the edge of the bunk – that is what the barracks looked like in 1942.

(Cesarini, 528)

The SS, which managed the camps, made sure there was a hierarchy amongst the prisoners such as trustees who survived a little longer than the rest by being 'favoured' with certain duties such as burning the bodies in the crematoriums or beating other prisoners. SS Lance Corporal Richard Bock, a guard at Auschwitz-Birkenau, recalls:

A block chief would call out the kapo very fiercely, 'Kapo, come here.' The kapo came over and – boom – he hit the kapo in the face so hard that he fell over…And then he said, 'Kapo, can't you beat them any better than that?' And the kapo ran off and grabbed a club to beat up the prisoner squad quite indiscriminately. 'Kapo, come over here,' he shouted again. The kapo came and he said, 'Finish them off,' and then he went off again and he finished the prisoners off, he beat them to death…a kapo had to beat and club to save his own life.

(Holmes, 325)

Luggage of Auschwitz Victims

Jorge Láscar (CC BY)

Those meant for the gas chambers were often unaware of their fate. Bock describes the procedure that he witnessed with a colleague called Holbinger who was responsible for the Zyklon B tins that would produce the lethal gas:

…the new arrivals had to get undressed, and then the order came, 'Prepare for disinfection'. There were enormous piles of clothing…Lots of them hid their children under the clothes and covered them up and then they shouted, 'Get ready' and they all went out, they had to run naked approximately twenty yards from the hall across to Bunker One. There were two doors standing open and they went in there and when a certain number had gone inside they shut the doors. That happened about three times, and every time Holbinger had to go out to his ambulance and they took out a sort of tin – he and one of his block chiefs – and then he climbed up the ladder and at the top there was a round hole and he opened the little round door and held the tin there and shook it and then he shut the little door again. Then a fearful screaming started up and approximately after about ten minutes it slowly went quiet…They opened the door…then a blue haze came out. I looked in and I saw a pyramid. They had all climbed up on top of each other…They were all tangled, they had to tug and pull very hard to disentangle all these people.

(Holmes, 334-5)

Dov Paisikowic, a Russian-Jewish survivor of Auschwitz, was part of the team responsible for taking bodies out of the chambers, removing valuables such as rings and gold teeth, and then taking the corpses to the crematoria. He recalls:

…the doors were suddenly opened to the gas chambers. People, naked people, started falling out. We were all frightened, no one dared ask what it all was. We were immediately taken to the other side of this house and there we saw hell on this earth – large piles of dead people, and people dragging these dead to a long pit, about thirty metres in length and ten metres in width. There was a huge fire there, with tree trunks. On the other side fat was being taken out of this pit with a bucket.

(Holmes, 335)

Thousands of detainees in the camps were subjected to unnecessary and often horrific medical operations and experiments. One of the most infamous SS doctors was Josef Mengele (1911-1979), who performed all kinds of macabre operations at Auschwitz. Mengele was, though, only one part of a large SS medical team, which operated in many different camps. Dr Franz Blaha, a Czech detainee at the Dachau concentration camp, was obliged to work in this area of Nazi terror, specifically performing autopsies. Blaha reported:

From the middle of 1941 to the end of 1942 some 500 operations on healthy prisoners were performed. These were for the instructions of the SS medical students and doctors and included operations on the stomach, gall bladder and throat. These were performed by students and doctors of only two years' training, although they were very dangerous and difficult….Many prisoners died on the operating table and many others from later complications…These persons were never volunteers but were forced to submit to such acts.

(MacDonald, 59)

Auschwitz Bunks

Bookofblue (CC BY-SA)

Hertha Beese, a Berlin housewife and underground resistance worker, recalls that, unlike the general public, the resistance network was more informed about the camps. She states:

We knew that the concentration camps existed. We also knew where they existed, for example Oranienburg just outside Berlin. We sometimes knew which of our friends were there and we also knew of the cruelties in them right from the beginning.

(Holmes, 315)

Anthony Eden (1897-1977), British Foreign Secretary during WWII, notes:

…as the war progressed some horrifying reports began to come out. At first it was very difficult to assess their accuracy and they were so horrible it was hard to believe they could be true.

(Holmes, 314)

Wynford Vaughn-Thomas, a British journalist, recalls the conditions of the Bergen-Belsen concentration camp in Germany when it was liberated in 1945:

In the huts typhoid, everything, had broken out and you couldn't hear yourself speak for the death rattle. There were people lying on top of each other, sick, vomiting, withered bodies crawling on their hands and knees…It was sealed off in this dark north German plain and you felt you'd reached the cesspit of the human mind.

(Holmes, 337)

Mass Grave, Bergen-Belsen Concentration Camp

H. Oakes-Imperial War Museums (Public Domain)

The British Lieutenant Colonel J. A. D. Johnson described what he saw when he arrived at Bergen-Belsen:

The prisoners were a dense mass of emaciated apathetic scarecrows huddled together in wooden huts, and in many cases without beds or blankets, and in some cases without any clothing whatsoever…There were thousands of emaciated corpses in various stages of decomposition lying unburied. Sanitation was to all intents and purposes nonexistent.

(Cesarini, 759)

Hans Stark, Gestapo staff member at Auschwitz, stated, like so many others, that he had merely been following orders:

I took part in the murder of many people…I believed in the Führer, I wanted to serve my people. Today I know that this idea was false. I regret the mistakes of my past, but I cannot undo them.

(Neville, 57)

Rabbi Frankforter, who died in the Holocaust, which Jewish people often call the Shoah or Ha-Shoah in Hebrew, gave this last wish to survivor Yaacov Silberstein:

You are still young and you will remain alive. I have only one request for you that you should never let people forget. Tell everyone what they did to us at this small camp, in Buchenwald. Wherever you go tell this, also to your children so that they should pass it on. To remember and not to forget.

(Holmes, 339)

Continue reading...

[fuckyeahgoodomens]

The PledgeManager has launched!

Thank you for bearing with us. We’re happy to say that, as promised, the PledgeManager has officially launched!

In case you missed it, we detailed earlier this week that the publication of the graphic novel has been pushed back from its original July 2024 estimate into Spring 2025 - you can read the full update here. We also want to take a moment to say that we have seen the outpouring of love and support on Kickstarter, and across various platforms, wishing Colleen well in her recovery and the time needed for the graphic novel - a huge thank you from all of the team for your understanding and patience, and for the genuine community and care we’ve seen these past few days. We appreciate you all.

PledgeManager

With this in mind, we think it’s important to underline: though PledgeManager has launched, you do not need to pay for your shipping fees immediately.

The PledgeManager is there for those who missed the campaign to order the graphic novel, and indeed for any backers who would like to upgrade, get some other add-ons, or the new items. You, as a pre-existing backer, should receive an email with information via Kickstarter and/or PledgeManager to inform you that this is now open to you - note, these are sent in waves of smaller batches, so if you don't get yours immediately, don't panic! It will likely take between 12-18 hours to process all the backers.

You are, of course, welcome to pay your shipping right away if you'd like, however we completely understand that you may want to wait until closer to the fulfilment time, or when more solid dates are confirmed, before actioning this.

For this stage, we have compiled a quick FAQ below covering some key questions:

Will the whole project be moving from Kickstarter to PledgeManager? No. This is just for the fulfilment side and logistics - all updates will still remain here.  

Do PledgeManager backers get everything that Kickstarter backers do? No. While the remaining tiers will be made available for those who missed it, with certain stretch goals (e.g. additions to the book, loot boxes, etc), Kickstarter backers have a number of exclusives such as the Good Omens HQ discount code for when the store launches, and the backers only events.  

My PledgeManager address will be different to what is listed on my Kickstarter. Is that fine? Yes. We are handling all logistics through PledgeManager and, as such, that is the only place where we will need your address. If you move or need to change any details, that will be the place to do so.  

Can I change my address? Yes. You can update your address until we are at the shipping stage. We will keep this option open for as long as possible to ensure maximum flexibility around this.  

How are shipping fees calculated? It is based on both weight and the country it is being sent to. We have been working over the past months to streamline processes and bring the costs down from their original starting point.  

Do I have to pay just now? You do not need to pay immediately, but payment will need to be made prior to your items being shipped. You now have a bigger window during which you can make payment. As above, we will keep updating you on the progression of the publication schedule, should you be waiting for firmer dates before doing so.  

What about taxes and import duty? UK: VAT is included in the costs UK backers pay, there should be no extra tax charges. US: We believe (but cannot guarantee) that imports under $800USD in value should not attract import duty, those pledges above may be taxed at import. EU & REST OF THE WORLD: If taxes or duties apply to your pledge, these will need to be paid at time of import into your country. We’ve spent months trying to integrate the costs at this stage, but in having the project open across the globe, it has proven too complex to be able to fully refine and cover all instances and locations, and we’ve been advised that this is the best route forward.  We know a lot of international backers, particularly in the EU – for example – will already be used to this process, and we will keep you all updated on any developments on this front. For all of our backers, we are working hard to make labelling and declaring all of the contents of your pledges as transparent as possible, in order to make taxing and importing as easy and affordable as possible.  

I want to buy the new items, but am waiting to pay shipping. Are they limited? The pins, mugs, notebooks - all the new items specifically added to the PledgeManager are not limited and will be available regardless of whether you get them now, or months down the road. The only limited items are the remaining tiers that have moved over from the Kickstarter (e.g. the Obsidian Tier) that were limited to begin with, and a very limited run of the Alien Parking ticket. Everything else is fully available, in perpetuity.  

Will you be adding extra items to the PledgeManager? No. What is there at launch is all we plan to include at this point - any new items afterwards will instead originate via the Good Omens HQ store.  

Will Kickstarter backers get items first? Yes. We will have a staggered approach for fulfilment: Kickstarter backers, then PledgeManager, then everything that is moving to the Good Omens HQ store will subsequently be made available.

You can also view the more general PledgeManager FAQ at terrypratchett.com.

We will keep PledgeManager and logistical notes present in all the monthly updates going forward, but felt this warranted a dedicated one-off. 

These are available as part of the PledgeManager. Another beauty from our pin designer, Carl Sutton.

Thanks again for your patience. Back in the April monthly update.

In short: :)

The Good Omens Pledge Manager has launched:

those who missed the Graphic Novel Kickstarter: Now you can order the Graphic novel, not all things that were in the original Kicstarter are available but there is stil a lot of options and fuckton of lovely ineffable add-ons! :)<3

those who participated inthe original GO GN Kickstarter: you should an email (Dunmanifestin needs more information to fulfill your reward) with a link that logs you (if not log manually) into the pledgemanager and lets you edit the order (add new add ons) (yep, my wallet weeps :D<3)

The addons:

I mean... how can one resist for example these I do not know... :D

[chubsonthemoon]

Fandom Trumps Hate 2025 - Moonham Press Fanbinding

Hi, everyone! I'm participating in the Crafts Bazaar for @fandomtrumpshate 2025. I'm offering one hardcover and one paperback fanbind of a fic of your choice, with author permission. More details under the cut and/or on my Craft Stall on Dreamwidth, here!

What I'm offering:

One (1) custom-made, fully typeset, hardcover fanbinding of a fic of your choice. (MUST be your own work or have author permission; please see below for more details).

One (1) custom made, fully typeset, paperback fanbinding of a fic of your choice. (MUST be your own work or have author permission; please see below for more details).

Details - General

You MUST have either written the fic yourself, or have provided a screenshot of the author giving explicit permission to bind their fic for this event. A blanket permission statement would work fine! The only exception to this rule is if a fic has been posted anonymously (NOT orphaned).

Due to the nature of how I typeset, the fic must be posted to AO3.

I'm very open to suggestions or design ideas! That said, I reserve the right to make any final decisions re: design and construction based on the materials I have on hand.

I can include art pieces; however, you must have permission from the artist to include their work.

I will not be binding anthologies or series; if you would like a shorter fic bound, please feel free to check out the paperback auction!

Fic can be any rating, but if it is rated Explicit, you must sign the age statement in the bidding form signifying you are over 18.

Bidders may participate in both auctions if they wish.

Details - Hardcover

Please choose a fic with a word count in the 25k to 150k word range (some leeway of a few thousand or so words here is fine).

My hardcover binds are usually letter folio sized (~5.5" x ~8.5"), but if your fic is closer to the 25k word mark, I also offer the letter quarto size (~4.375" x ~5.5") (dimensions given are estimates; actual dimensions may differ slightly).

Minimum bid: $45 USD

Details - Paperback

Please choose a fic that in the 5k to 20k word range (some leeway of a thousand or so words here is fine).

Dimensions for the paperback are more flexible! I have a few examples above and on my blog of both letter-sized folios, which are more like traditional zines (~5.375" x ~8.25") (see "On Elba" in the photo grid), as well as letter-sized quartos (~5.375" x ~4.125") (see "there are violets in your eyes" for a size comparison between the letter quarto and folio). I can also do a legal-sized quarto (~4.125" x ~6.75") (see "King of Infinite Space") (dimensions given are estimates; actual dimensions may differ slightly).

Minimum bid: $10 USD

Details - Shipping and Timeline

I will pay for tracked shipping within the United States. If you are outside the US, I am happy to craft for you, but please note you will be responsible for the shipping costs, which can be significant as books are heavy. Please look into how much it costs to ship a book sized object from the US to you before bidding.

I'm aiming to have all books completed and shipped out by the beginner of September; however, this deadline is tentative and subject to change (either earlier or later) depending on the complexity of the project. Regardless, all books will be shipped no later than the FTH deadline of December 31st.

Examples of my work

You can also find more examples of my work via my tumblr fanbinding tag, here!

How to bid

The auction will run from Tuesday, Feb 25th 8 am EST to Monday, March 10th.

Please fill out the forms linked below:

Hardcover auction form: Click here.

Paperback auction form: Click here.

You can check the status of your bid at the links below:

Hardcover auction status: Click here.

Paperback auction status: Click here.

I will contact the winners within 24 hours of the auction closing.

Upon winning the auction, you must donate the amount specified on your bid directly to any one of the following charities:

Crips for eSims for Gaza

Young Center for Immigrant Children's Rights

Freedom to Read Foundation

Any of the LGBTQ orgs listed here or below:

Equality Texas

Transgender Education Network of Texas

Fund Texas Choice

Proof of your donation is due Wednesday, March 12th.

After I have received proof of your donation, I will be in contact to talk details about your book!

Please feel free to reach out to me if you have any questions! <3

[spinji]

to me Bakugo always seemed like one of those genius kids that were constantly praised for this one thing he excelled at(his quirk) that he didn't really have anything else besides that. It gave him an inferiority complex. And when he went to ua, it's like when those gifted kids go go to a school where they're are tons of lifted kids just like him all starting at same place. He realizes he's not the best anymore. In fact he starts to fall a little behind(which is normal) and that hits him hard because who else is he if he's not the best.

With no exaggeration that is exactly it.

That is the entire basis for his early character development before it becomes even more ridiculously intertwined with Izuku. His entire beef with Todoroki comes from feeling upstaged by him and then never getting an opportunity to properly one-up him because Shoto pulled his punch at the sports festival. It's why he was so SO fucking upset at the award ceremony even though he got first place.

And the thing is; he keeps losing these personal goals for himself time and again until the exact moment he stops treating his classmates as people to compete against rather than people to collaborate with. You take away all the Izuku-specific issues and his struggle with the death of his ego and trying to ward of imposter syndrome is extremely relatable, especially if you were one of those high performing kids who now cringes at how much they used to flaunt their own skills or intelligence.

Personally, I think Izuku has the other end of the gifted child problems spectrum. He wasn't openly praised to the point of swelling his ego but he's clearly very smart. I like to think he was a very independent worker when he was young which only made him not learn how to ask for help when things are difficult.

It's not a point of pride, he just genuinely doesn't consider outside help as a factor because he hasn't needed it yet (he did and his grades suffered a bit as a result and maybe that got tied up in his self esteem a little but hey he's still passing). It's a bit of personal projection but I think the contradiction between the emphasis on his intelligence from a character perspective and how actually middling/inconsistent his grades are when you actually look at what the narrative says makes sense in that context.

Whenever they show him studying he always looks like he's struggling to some degree, his expression very tense and hunched over his desk for hours to make sure he understands what he's doing. He was smart enough to guesstimate his entrance exam score but his estimate was that he barely passed. That one innocuous scene of him very confidently answering a math question wrong. Combine that with the fact that learning to ask for support in other areas is a major part of his character growth and idk the vibe just really fits.

[queenofsquids]

spent all day patterning a mushroom body pillow for R as she & her bestie have been obsessed with making mushroom creature oc's all week 😂

she wanted to buy one online for $40 of her own dollars and I was like, I can surely make that out of two colors of thrifted blankets, which I promptly went out and procured for $2.50 each

now it's 12hrs later and I'm still working on this "simple" project 🤣 accurate time estimates continue to be a dark art that eludes me

(snow storm forecast for tomorrow)

(so mushroom cap shape is more complex than it looks I swear ... and I'm trying to make it look like her little guy)

[panic-flavored]

I keep imagining some robotnik superior showing up unexpectedly in his lab and being like "🤨...Wait there are three mermai... *stone kills him*

I plan on writing a fic about this eventually, but I've been short on time lately 😭 Long story short, Robotnik moves Stone to an underwater lab he's been building to save him from being un-alived by the government, and at roughly the same time they find out Stone is pregnant. So fortunately the merfamily is totally safe! Here's a blurb from the WIP of that fic, since it probably won't be posted for a while:

---

The words echo off the lifeless conference room walls and rattle around unpleasantly in Robotnik’s brain. They are not words Robotnik wants to hear, and if he’s being honest, some time ago he’d forgotten that he’d ever have to hear them in the first place.

“Doctor?” Commander Walters offers Robotnik an appropriately concerned frown. “Did you hear me?”

Robotnik clears his throat, refocusing. “No, uh- no. I must have spaced out. Say that one more time for me.” He heard him loud and clear, of course, but he wants to pick through it one more time, see if there are any loopholes or contradictions he can take advantage of to be found in the words.

“Oh, sure… I understand, I’m sure you’ve been working around the clock lately.” Commander Walters says. “I said that if you’ve acquired all the data you can from the living specimen, it’s time to turn him over to the autopsy team. It’s still your project of course, so you can be as involved as you’d like to be going forward. But after six months of research, I think it’s safe to say we can–” here, Walters does that annoying rotating motion with both of his pointer fingers, “--wrap it up.”

Robotnik feels a little bit sick. Furious, mostly, but the sour heaviness in his guts is close to making him gag. Has it been six months already? Back then, this plan didn’t bother Robotnik in the slightest. When he first stormed into the biology lab to assert himself as the project leader, he didn’t care how injured and malnourished Stone was - Stone wasn’t Stone back then, he was the ‘specimen’. Robotnik hadn’t chewed out the pitiful scientists over their subpar treatment of Stone because he’d worried about Stone’s safety, it was because they’d compromised the scientific process. There was no sense in researching a living subject if that subject was too weak and sick to move, after all.

Obviously Robotnik’s opinion had changed rather quickly. He’d been told that the ‘merman’ wasn’t intelligent, wasn’t sentient. That he was mindless and violent. Fools. Almost as soon as Robotnik dismissed the rest of the team, it became apparent none of that was true. Stone quickly proved himself to be highly intelligent, learning ASL almost as fast as Robotnik once had. He was complex, loyal, and terribly interesting. He saw the world so differently than anyone Robotnik had ever met. 

This is a very wordy way of saying that Robotnik fell in love, even if he hated framing it in such a simplistic, childish way.

Stone fell first, to be fair. He’d marked Robotnik, he claimed him, they were mates and now Robotnik is hearing another person say that Stone needs to be killed and torn open soon. It all seems so surreal. 

“You can’t just put a time limit on science, Commander,” Robotnik says icily. “Six months is nothing. I haven’t even had ample time to study his metabolic rate yet, it’s vastly different from a humans–” “Six months was your estimation, not mine,” Walters counters. “When you took over the project, that was your projected timeframe.”

Robotnik inwardly kicks himself. He originally gave himself six months to ensure he had a comfortable cushion of time, but he’d been positive four months is all it would take to collect all the necessary data before passing Stone off to another team. 

“Well if it hadn’t taken two months for the creature to fully recover from what those amateurs did to it before I arrived, I would have been done by now!” Robotnik growls. It hadn’t taken two months for Stone to recover, but it seemed a believable amount of time to a person who isn’t personally familiar with how quickly merpeople heal. “Why do you think I’ve been ‘working around the clock’, Commander? Making up for lost time!”

Walters frowns in consideration, rubbing a knuckle thoughtfully against his stubbly chin. “Ah yes, I remember reading about that in your initial reports. I hadn’t considered how much that may have set you back. In that case, I’ll give you another two months to finish your research, Doctor. Does that sound fair?”

It takes Robotnik less than a second to run the numbers, the estimations and impromptu simulations - yes, he could certainly finish his work in two months. Not the work Walters was expecting him to finish, obviously. Something much, much more important. “Two months sounds more than fair, Commander.”

[amerricanartwork]

Quetzalli's Needle Felting Commissions: OPEN! (5/5 Slots)

That's right, after YEARS of wanting to do some needle felting commissions, I believe I'm finally ready to put this plan in motion!!

If you're interested, make sure to read the important info below, or you can message me for other details! I also may update this post as time goes, on, including adding more categories of figures.

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GENERAL INFO

I update my prices from time to time. For now, checking this original post is the best way to get the most accurate pricing estimate.

My prices are ultimately based on an hourly rate of $15. Anything on the subject that would require more time to make than the base prices, whether that be because it requires me to add more wool or because its features are more complex, will therefore increase the price.

My felted figures are made primarily using Maori wool batting and natural core wool, wrapped atop aluminum wire armatures that make them semi-poseable as well.

Right now, I'm most comfortable making animals (particularly mammals), but I'd be willing to try other creatures and humanoid figures to some degree.

I can make real animals of various species and breeds, including pets, and OCs, both completely original and fan-characters

My figures are typically stylized with a somewhat cartoon-y appearance, especially in the face. If you don't want your figure(s) to look this way, please let me know so we can discuss it. I'm open to making figures in other styles, such as a more realistic look or a chibi-esque style.

Unfortunately, I will only be shipping to the United States as of now.

Though the figures I've made so far range in size, in general, the minimum size is 3 inches tall (bottom of the feet to the top of the head, not including any ears/horns/hair/etc.) or long (the front of the face to the end of the thighs, not including any tail), and the maximum size is 8 inches tall or long. These constraints may change depending on the complexity of the figure(s).

Unless the figure(s) is based on a general species/breed and not a specific animal or character (ex: if you want a German shepherd, but not a personal pet or other specific German shepherd), make sure you can provide reference images from as many angles as possible for the subject(s) you'd like me to make, whether that be photos of a real-life pet, or drawn reference sheets and images of a character.

All transactions will be done via Etsy. I require 50% up front and 50% after the artwork is completed, which can be paid by purchasing corresponding listings on my Etsy shop.

I may not have all of the right wool colors for your subject. If the figure requires me to buy additional wool, the cost of the wool will be added to the total cost and it may take longer for me to make. In this instance, I'll let you know when the wool arrives.

I often make traditional blueprint sketches of my figures before starting. During the process, I may ask for confirmation on the blueprint to ensure I interpret the subject to your liking.

While my figures are somewhat durable and meant to be slightly posed, they are not toys, so avoid being rough with them after you receive them.

I may reject a commission offer for any reason.

Rain World-inspired commissions, unless explicitly agreed to before any payment, will be posted under the "project: rain wool" tag on this blog.

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PRICES

The prices below are base rates for types of figures I already have experience with and examples of. For all figures, the prices may change based on the size and complexity of the figure.

Real-Life-Inspired Animals: $115 to $150

These figures will be animals inspired by real life species and breeds, including pets. While I can vary their size, the minimum size is 4 inches on the longest side (for quadruped animals, this is usually from the tip of the snout to the end of the thighs, not including the tail), and the maximum size is 8 inches on the longest side.

$120 is the base rate for a 4 inch figure, and $210 is the base rate for 8-inch figure, like those shown in the photos. The price may changed based on the complexity of the figure, such as one that requires more colors or has special features (antlers, horns, clothing, accessories, etc).

Rain World-Inspired Slugcats & Lizards: $45 Base per Slugcat, $60 Base per Lizard

These are figures inspired by Rain World's player characters: the slugcats, and a common type of creature in the game: lizards of various colors. The minimum size for a slugcat is 3 inches tall, from the bottom of their feet to the top of their head (not counting the ears), and the maximum size is 8 inches tall. The minimum size for a lizard is 3 inches long from the tip of the snout to the end of the back legs, and the maximum size is 8 inches long.

The base rates are for the respective minimum sizes, and will increase for larger figures. The base price also assumes only 2 colors for the figures (a body color and a "face" color for slugcats, and a body color and head color for lizards), with little to no special features besides perhaps simple scars. More intricate features, such as clothing, detailed markings, special appendages (like Rivulet's gills) or additional colors will cost more depending on the complexity of the additions. I can also make small props for these figures, such as spears and food items, at an extra cost.

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PROCESS

If you're interested in a felted figure, fill out this form so I can put you on a waiting list, which will start out at 5 slots for now.

Once I'm available, I'll contact the email you provide to discuss more information about what figure(s) you want, how long it will take to make the artwork, how much it will cost, and any other important details. I will also send you my Terms of Service document, and if you aren't comfortable with any of the terms, I'm willing to negotiate some details before payment. We must both agree, in writing, to the terms before I proceed.

Once the terms have been explicitly agreed to and the price established, I'll send you a listing on Etsy at the price of the first payment. Purchasing this will give you access to a digital file acting as a receipt for your commission. It will also contain the date I plan to start working on your commission, and up until this date you may request a refund.

From there, I will continue to email you update images of the figure(s), and may ask for some feedback before continuing.

Once the final artwork is done, I'll send you another Etsy listing at the remaining payment price with images of the finished figure(s), marked as "Commission for [Buyer Name]: [Figure Name(s)]". After purchasing this, you will be shipped the felted figure(s).

[blueiscoool]

Lavish 2,200-year-old King Tomb Discovered in China

Archaeologists have unearthed a luxurious 2,200-year-old tomb in eastern China, the largest, highest-ranking, and most structurally complex ever unearthed, which may have belonged to an emperor of the state of Chu during a critical period in Chinese history.

Chu was one of the seven Warring States, along with Qin, Han, Wei, Zhao, Qi, and Yan. The unification of these states is recognized as the start of modern China.

The 2,200-year-old Wuwangdun tomb, which is situated in the Anhui Province of East China’s city of Huainan, has yielded over 1,000 artifacts, including figurines, musical instruments, bronze goods, and everyday utensils and lacquerware artifacts, dating to about 220 BC.

At Wuwangdun, one of the largest-scale Chu state archaeological sites, researchers previously uncovered a cemetery spanning 1.5sqkm, with a chariot and sacrifice pits and a tomb, believed to be that of the cemetery’s owner.

The tomb is thought to be the highest-level ancient Chu state tomb ever excavated, and its vast scale, intricate structure, and rich contents suggest it belonged to the state’s emperor.

According to information obtained by the Global Times newspaper from the Institute of Cultural Relics and Archaeology of Anhui Province, based on the size and scale of the tomb, as well as historical records, it is estimated that the owner of the tomb may be King Kaolie of Chu. However, a more accurate determination of the tomb’s occupant will require further extraction of artifacts and analyses of textual evidence.

Meanwhile, the tomb had been looted multiple times throughout history. Anhui was permitted by the NCHA in 2019 to excavate the tomb and salvage its archaeological remains. An official start to the excavation work was made a year later, and it was recognized as a national project to use archaeological research to determine the origins of Chinese civilization.

The Wuwangdun tomb complex, which covers an area of over 140 square kilometers, includes sacrificial pits, chariot and horse pits, accompanying graves, and the main burial chamber (Tomb No. 1). Tomb No. 1 is a large, nearly square, vertical pit tomb with sides that are about 50 meters long. There is a 42-meter-long, sloping tomb passage on the east side.

Around the pit, eight side chambers were found, and a central coffin chamber with several layers of planks covering it was also found. 443 coffin lid planks and the 78 bamboo mats that covered them have been removed thus far. On the planks of the coffin lid, there were about 1,000 ink-drawn characters that represented the locations and purposes of each side chamber.

“The findings can provide an overall picture of the political, economic, cultural, technological and social conditions of the Chu state in the Warring States period,” Gong Xicheng, an archaeologist part of the excavation told Chinese state news agency Xinhua.

“The findings can help us learn about the historical evolution as well as the formation of a unified nation and its culture,” he added.

These discoveries provide systematic archaeological data for studying the high-level tomb system in the Chu state during the late Warring States period (475BC-221BC).

To discover while also preserving the unearthed remains archaeologists worked within a special low-oxygen laboratory built at the site.

By Leman Altuntaş.

[blackblooms]

Since irredeamable wont release for some time. Ill be presenting some of my notable projects. I`ll start with the one i would most recommend. It's pretty old and janky but i think there is plenty to find for those willing to get past its flaws.

Black heart: Play it here and now!

One of my most Ambitious project ever, black heart is a sidescrolling action-adventure game, highly inspired by the zelda series. In it, you play as 3 sisters, going on a perilous journey to rescue their people from the tyrannical grasp of an evil empress.

Pros: -Each of the 3 sisters comes with a unique feel. From their attack pattern to their health, physics, and items. Much of the game is built around those distinctions. -The story is simple but effective, with a clear goal to achieve and many characters to meet. -The world is very expensive and diverse, containing several interconnected zones to discover and explore. -The lore is complex, nuanced, and intricate, each of the races is well-developed with their own history, culture, heroes, and villains. -The dungeons are large and numerous. Each features its own type of puzzle and distinct aesthetic. -The bosses are all unique and ambitious, often featuring several phases, mechanics, and attack patterns. -There are a whole lot of secrets to find, certain fun and silly, others strange or creepy.

Cons: -The main characters are pretty bland and display little personality outside of the few traits they are given. -Combat can be pretty bare-bone and uninteresting outside of boss fights -Some of the writing and lore have not aged well and could be considered a bit tasteless or insensitive. -Since puzzles are often built around specific characters which have their own hp, losing them can force players to backtrack.

Recommended to: -Fans of Zelda games who crave another game in the genre. -People who want to get lost in a big and complex world. -People who want to experience a fantasy world unlike any other. -People who long for a game that they can discover for themselves without risking being spoiled by walkthroughs or wikis.

Estimated Duration: 6-8 hours.

[argumate]

dear mediocre bird of prey, would you share resources to learn about nasa’s functioning and fucking up? cursory google search didn’t turn up all that much

although the real tragedy isn't that they lost two shuttles it's that they built them in the first place; Maciej Cegłowski wrote the best summary of the shuttle program back in 2005:

There is no satisfactory answer for why all this commotion must take place in orbit. To the uneducated mind, it would seem we could accomplish our current manned space flight objectives more easily by not launching any astronauts into space at all - leaving the Shuttle and ISS on the ground would result in massive savings without the slighest impact on basic science, while also increasing mission safety by many orders of magnitude. It might even bring mission costs within the original 1970's estimates, and allow us to continue the Shuttle program well into the middle of the century.

and he just posted a summary of where he thinks the Artemis program is going in 2024:

You don’t have to be a rocket scientist to wonder what’s going on here. If we can put a man on the moon, then why can't we just go do it again? The moon hasn’t changed since the 1960’s, while every technology we used to get there has seen staggering advances. It took NASA eight years to go from nothing to a moon landing at the dawn of the Space Age. But today, twenty years and $93 billion after the space agency announced our return to the moon, the goal seems as far out of reach as ever.

Articles about Artemis often give the program’s tangled backstory. But I want to talk about Artemis as a technical design, because there’s just so much to drink in. While NASA is no stranger to complex mission architectures, Artemis goes beyond complex to the just plain incoherent. None of the puzzle pieces seem to come from the same box. Half the program requires breakthrough technologies that make the other half unnecessary. The rocket and spacecraft NASA spent two decades building can’t even reach the moon. And for reasons no one understands, there’s a new space station in the mix.

In the past, whatever oddball project NASA came up with, we at least knew they could build the hardware. But Artemis calls the agency’s competence as an engineering organization into question. For the first time since the early 1960's, it's unclear whether the US space agency is even capable of putting astronauts on the moon.

[birdsnest01]

Cool New Ad Campaign!

"It's not plagiarizing it's refencing."

-Reigen probably

So, I am an artist and I'm taking commissions. Very open to just about anything. (except nsfw content) I want to take on unique challenges and improve constantly.

My rate is $21 an hour. I don't limit myself to a single artstlye. I don't have a set price tags on projects. Something like a profile picture can take 1 to 9 hours of work depending on the complexity. So, I base prices off the specifics of each project. The poster above took 7 hours, meaning it would be $147.

At the start of a project I will let you know the price estimate based on your description, and if I go over by an hour or two. That is my loss. Your price will be based off my initial estimate.

Thank you for reading this, and please consider hiring me!

[untoldsoup]

Opening up a few slots for comms!

I won't have time for a lot of them what with my current projects taking a big chunk of my time, but I will do a few comms every now and then as I have spare time. Pricing is a estimate, and may increase if the complexity of your request requires additional work. Let me know the details of what you want and I can give you the exact price.

DM if interested~